Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Austria and from Salvador.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1966 to 1977.
I'm losing my edge.
To all the kids in Portland and Glasgow.
I'm losing my edge to the art-school Philadelphia kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing The Gun Club to the grime kids.
I played it at the Astoria.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Bill Wells. All the underground hits.
All Lonnie Liston Smith tracks. I heard you have a vinyl of every Rhythim Is Rhythim record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
Lou Christie,
Ajijia Myrayebe,
Max Romeo,
Moss Icon,
Johnny Clarke,
Shuggie Otis,
Black Bananas,
DJ Style,
The Fall,
Deutsch Amerikanische Freundschaft,
Public Image Ltd.,
Curtis Mayfield,
Harmonia,
Cluster,
The United States of America,
New Order,
the Association,
Dual Sessions,
Kool G Rap & DJ Polo,
Nirvana,
Man Parrish,
Barry Ungar,
Spoonie Gee,
The Moleskins,
Alice Coltrane,
Outsiders,
The Fire Engines,
Mad Mike,
Mantronix,
June Days,
ABC,
Tommy Roe,
Metal Thangz,
Susan Cadogan,
Blossom Toes,
Livin' Joy,
Theoretical Girls,
Ultramagnetic MC's,
The Jesus and Mary Chain,
Icehouse,
Skriet,
E-Dancer,
Lou Reed & Metallica,
F. McDonald,
Marc Romboy vs. Booka Shade,
Traffic Nightmare,
Bizarre Inc.,
Glambeats Corp.,
Lonnie Liston Smith,
Royal Trux,
Brand Nubian,
Cal Tjader,
The Victims,
Guru Guru,
The Pretty Things,
Stetsasonic,
Rhythim Is Rhythim,
Wolf Eyes,
Lalo Schifrin,
Angry Samoans,
The Stooges,
Byron Stingily,
Lakeside,
Soul II Soul, Soul II Soul, Soul II Soul, Soul II Soul.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.